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(FILMAFFINITY)\r\n\r\n\r\nUn film, una obra maestra, que pasó por nuestras carteleras sin pena ni gloria, aunque merecería estar en las historias del cine por méritos propios. “La estrella ausente”, del director italiano Gianni Amelio, narra cómo un ingeniero italiano se embarca por su cuenta en un viaje por la República Popular de China, en busca de una fundición defectuosa que su empresa vendió pocas semanas atrás, y que sólo él sabe reparar. En su periplo cuenta con la guía constante de una joven intérprete china.\r\n\r\nEl argumento da pie a varios asuntos. Por un lado, retoma los tópicos habituales en la filmografía de Amedio: Norte y Sur, el emigrante y su mentalidad; los occidentales, que no son tan poderosos y modernos, y los “otros”, que no son tan ignorantes; la honradez y el compromiso; los sentimientos al límite en situaciones sin salida. Pero no es sólo un film italiano o de Amelio; la película tiene también un alma china, y aunque el espectador occidental no lo capte tan fácilmente, y quizá sea cosa del contexto chino más que de la voluntad consciente del director, allí se mueven algunos argumentos de una de las tradiciones narrativas más viejas del mundo: los diversos niveles de realidad e ilusión que apenas perfilan eso que denominamos éxito y fracaso. Es Cao Xuequin escribiendo en la introducción de la novela Sueño del pabellón rojo, a mediados del siglo XVIII: “La Verdad se convierte en ficción cuando la ficción es verdadera”.\r\n\r\nEl viaje de Vincenzo tiene algo de retorno de Marco Polo a China, pero es un film sobre la nueva China del siglo XXI, a ratos una pesadilla industrial, habitada por gentes desarraigadas, hacinadas en barracas de noventa pisos, sin ascensor, paisajes contaminados y jerarquías evanescentes en despachos fríos, inmensidades desoladas.\r\n\r\nSon esos entornos tan duros o ásperos que Amelio sabe filmar, sin concesiones, y que al final resultan humanizados por la intensa relación entre los dos protagonistas -una constante en la filmografía del director italiano. Sólo que en este caso, se trata de una intensidad tensa y tranquila, sin desgarros, sin pasión, sin deseo, sin uno solo beso entre dos personas que aprenden a quererse y, sobre todo, a entenderse. 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Una obcecación honrada, un inconmensurable pundonor profesional de Vincenzo Buonavolotà, que es el motor de ese viaje sin fin por la interminable China, en horizontal, y por los sentimientos de los protagonistas, en profundidad. Un film muy bello, emocionante hasta el final, pero sin sensiblerías, lleno de respeto y cariño hacia China y su desconcertante realidad en el siglo XXI. “Los chinos te ponen la zancadilla, pero luego te ayudan a levantarte” -sentencia la joven Hua. 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